facing the Pacific
this hour this beach both
what is (inside), (what is not) outside
lo que es (adentro), (lo que no es) afuera
surf, seagulls, children’s laughter
vertical, circular, horizontal
spacetime – where?
let the sound choose –
but gravity
does not dismantle itself
waves pound the shore
sand, pebbles, shells and all
está afuera, y no está dentro
is outside, and not inside
what new life breathes salted hot air
pleasure despair
had I flossed six times a day for the past twelve years would evil have spared my sleep?
if my name were Rhododendron
and my lover’s name Orchid, or Iris –
could the curse have passed the garden
without noticing my presence
which style of composition
if I were a musical chord
could I trust for best protection
a jazz arrangement, or a symphony – where,
within the melody or the rhythm section
if I were kitchen spices
could I blend into a variety of pastries
and hot thick sauces –
so nobody would realize
I had scattered myself in disguise
to escape on different dishes
to protect me from a voodoo spell
could I befriend a gorilla
deep in a jungle on my own
or, if left in silence kneeling on sand
would a wise camel appear
to save me from a bloody hex
if I were only a phrase
would such madness leave me untouched
in a medical treatise
or in an epic novel of lengthy volumes;
in how-to manuals, or history and religion
could I hide from it living in Mogadishu,
in Port-au-Prince, or in Juárez – a market
which day of the week, Monday or Friday,
in what month, May or October
and numbers – fractals, the Fibonacci sequence,
the π number, or algorithmic equations –
could they offer shelter to my mind, better
than a flute, filberts, or the written word
is it too late to turn into pigments, mixed
with linseed or safflower oils on a canvas –
will I find abstractions – like Richter’s and Ksiazek’s
safe sanctuary for my soul?
not a purple tango, or a yellow samba, perhaps an uncatalogued charanga
after textures found inside a painting at a gallery, a horologist, a mannequin
and a dwarf pulcinella come together to drink absolute black
but it’s not a three-way conversation since the one with the watch
doesn’t even say a word, only stares at his frozen hour
the composed mannequin insists on some missing swan – not missing
simply nesting undisclosed, to avoid children and walkers with cameras
the clown can’t stop his manic episodes of furious jumps and shouts –
he does not believe it so: the long neck bird sits always by the pond
as this night grows older, darkness finds its groove, not a single
white feather in sight, not a sound from the one watching time
it’s all about the silk and gravel of loss, in the throat –
every drop of blackness, as they fuse together
in a fist, or in a handful of grapes, in the dense mating of tarantulas
or side by side – the dead and unborn found inside an abstract glass
so, I throw a tenebrous tantrum, knowing well none of them would care –
what space inside a Jackson Pollock painting, or inside a sperm whale
what else to do – my drummer plays her jungle vodka beats, I can’t resist
a desire to crane-dance a Schumann air, at a distance
when your eyes roll back and look inside
while the rain stops, and the stars come out
over a dark rock a fisherman ties together
long segments of ancient rugs –
a tall bearded man, he speaks to you, slowly
as the sun starts to rise over the shore
but you’ve never heard this language before
and you don’t understand his voice
you wait for a sign, another man, or woman
while you think over such talk –
the tall figure at the beach stands before you
not understanding your questions, either –
barefoot on the sand, a carpet weaver appears
from the other end of dawn with a basket
full of fish, and a loaf of bread under her arm
so, now you see yourself in Navajo country
or outside a Turkish village, but you can’t
distinguish the features of the couple
and still don’t understand one word they say
were you expecting food and warmth
or were you merely lost, needing directions?
you still don’t know –
in truth, your immediate wish amounts
to keep breathing your life here, now –
it wouldn’t even occur to you
to ask them about your memory – how?
a blackfoot albatross circle the clear sky above
Carlos Hernández Peña is the author of Moonmilk and Other Poems (Ragged Sky Press, 2006). He has also served as a co-editor of the US1 Worksheets magazine, and organized Voices at the Princeton Public Library, a biannual program of poetry from around the world presented in a bilingual format, featured over 30 different languages.
During the daytime, Carlos works for The Segal Company, employee benefit consultants and actuaries in Princeton, New Jersey.